Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/practicalguideto00unse_1 


THE  ROTUNDA — READING  ROOM, 


A PRACTICAL  GUIDE  TO  THE 

LIBRARY  of  CONGRESS 

PAINTINGS 

WITH  92  KEY  PICTURES  AND  OTHER  ILLUS- 
TRATIONS AND  THE  LIBRARY  QUOTATIONS 

FOSTER.  & REYNOLDS.  WASHINGTON 


Copyrights  1 9 0 3,  by  Foster  & Reynolds 


CONTENTS 


Bronze  Doors  58 
Fountain  58  » 

Exterior  Decorations  58 
Entrance  Pavilion  58 
Vestibule  59 
Grand  Stair  Hall  59 
Commemorative  Arch  60 
Martiny  Staircases  60 
South  Hall  62 


South  Corridor  66 
Representatives’  Reading  Room  68 
Senate  Reading  Room  69 
Reading  Room  Lobby  70 
East  Hall  71 
Librarian’s  Room  72 
(not  open  to  the  public) 

North  Hall  72 
North  Corridor  74 


THE  SECOND  FLOOR. 


North  Corridor  76 

East  Corridor  78 

Stairway  to  Reading  Room  79 

South  Corridor  79 

West  Corridor  80 

Southwest  Gallery  81 

Southwest  Pavilion  82 


Southeast  Pavilion  82 
Northwest  Gallery  83 
Northwest  Pavilion  83 
Northeast  Pavilion  84 
Reading  Room  85 
Book  Stacks  88 


THE  PAINTINGS  AND  OTHER  DECORATIONS. 


Adventure  82 
Architecture  81 
Art  (Dodge)  83 
Art  (Pratt)  58 
Arts  (Cox)  81 
Book  Series  71 
Bronze  Doors  58 
Civilization  86 
Civilization  82 
Clock  88 
Conquest  82 
Discovery  82 
Elements  82 
Family  72 
Fates  78 
Fountain  58 
Government  70 
Graces  80 
Greek  Heroes  66 


Human  Understanding 
II  Penseroso  78 
Joy  and  Memory  66 
L’Allegro  78 
Literature  (Barse)  78 
Literature  (Dodge)  83 
Literature  (Hoisay)  72 
Literature  (Pratt)  58 
Martiny  Sculptures  60 
Minerva  (Adams)  59 
Minerva  (Vedder)  79 
Mosaic  Mantels  68 
Muses  74 
Music  (Dodge)  83 
Painting  81 
Peace  83 
Quotations 
Race  Heads  58 
Poetry  (Walker)  62 


Poet’s  Boys  62 
Printers’  Marks  77  80 
Science  (Dodge)  83 
Science  (Pratt)  58 
Sciences  (Cox)  81 
Sciences  (Shirlaw)  80 
Sculpture  81 
Sculptures  58 
Seals  84 

Seasons  (Benson)  80 
Seasons  (Pratt)  82 
Senses  77 
Sibyls.  77  80 
Spectrum  69 
Statues  85 
Virtues  76,  79 
War  83 

Windows  (States)  88 
Wisdom  76 


v*  This  “Practical  Guide”  is  a reprint  of  the  chapter  on  “The  Library  of 
Congress”  in  the  W asking-ton  Standard  Guide . The  other  chapters  of  the 
Standard  Guide . devoted  to  the  Capitol,  White  House,  Treasury,  Monument, 
Arlington  and  Mount  Vernon,  will  be  found  just  as  complete  and  satisfactory. 


RESEARCH  LIBRARY 
GETTY  RESEARCH  INSTITUTE 


Melpomene,  Muse  of  Tragedy. 


THE  LIBRARY  OF  CONGRESS 

And  its  Mural  Decorations. 

***  The  eighty-six  key  pictures  of  paintings  and  architecture  are  miniatures  from  the  volume  of 
reproductions  entitled  “Book  of  the  Paintings  of  the  Library  of  Congress,”  published  by  Foster  & 
Reynolds,  who  publish  also  The  Library  Paintings  reproduced  in  the  original  colors. 

THE  Library  grounds  adjoin  those  of  the  Capitol.  The  building 
faces  west  upon  First  street,  and  the  outer  walls  have  a frontage 
upon  four  streets  (First,  East  Capitol,  Second  and  B streets). 
The  grounds  and  the  seventy  residences  upon  them  cost  $585,000. 
The  foundations  were  laid  in  1888,  and  the  building  was  begun  in  1889,  and  was 
completed  1897.  The  net  cost,  exclusive  of  site,  was  $6,032,124.54. 

The  original  architectural  plans  were  prepared  by  the  firm  of  Smithmeyer 
& Pelz.  These  were  modified  by  those  of  Edward  Pearce  Casey. 

The  building  is  of  the  Italian  Renaissance  order  of  architecture;  jt  has 
three  stories,  with  a dome;  and  is  in  area  47oX340-ft.,  covering  nearly  31/ 2 
acres  of  ground,  with  four  large  inner  courts,  150  by  75  to  100-ft.,  and  nearly 
2,000  windows  render  it  the  best  lighted  library  in  the  world. 

The  plan  and  arrangement  are  shown  in  our  diagram.  The  building  con- 
sists of  a great  central  rotunda,  which  is  the  reading-room;  from  which  radi- 
ate book-stacks,  and  which  is  inclosed  in  a parallelogram  of  galleries  and 
pavilions.  > The  building  material  employed  is  for  the  exterior  walls  white 
granite  from  New  Hampshire,  and  for  the  inner  courts  Maryland  granite  and 
white  enameled  bricks. 

There  are  three  stories.  On  the  ground  floor  are  the  copyright  office, 
reading  room  for  the  blind,  and  superintendent’s  office.  The  first  floor  con- 
tains the  reading  room  (where  the  books  are  consulted),  the  librarian’s 
room,  periodical  reading  room,  Senate  and  Representatives’  reading  room, 
and  map  room.  The  pavilions  and  galleries  of  the  second  floor  are  devoted  to 


56 


The  Library  of  Congress. 


exhibits  of  engravings  and  other  collections,  including  rare  books,  first  edi- 
tions, portraits  of  the  Presidents  and  other  personages. 

Exterior  Decorations. — The  Dome  is  finished  in  black  copper,  with  panels 
gilded  with  a thick  coating  of  gold  leaf.  The  cresting  of  the  Dome  above  the 
lantern,  195-ft.  from  the  ground,  terminates  in  a gilded  finial,  representing  the 
torch  of  Science,  ever  burning. 

The  thirty-three  windows  of  the  corner  pavilion  and  of  the  west  facade 
nave  carved  heads  representing  the  several  races  of  men.  The  types  are : 
Russian  Slav,  Blonde  European,  Brunette  European,  Modern  Greek,  Persian, 
Circassian,  Hindoo,  Hungarian,  Jew,  Arab,  Turk,  Modern  Egyptian,  Abyssin- 
ian, Malay,  Polynesian.  Australian,  Negrito,  Zulu,  Papuan,  Soudan  Negro, 
Akka,  Fuegian,  Botocudo,  Pueblo  Indian,  Esquimau,  Plains  Indian,  Samo- 
yede,  Corean,  Japanese,  Aino,  Burmese,  Thibetan,  Chinese. 

The  Bronze  Fountain,  by  Hinton  Perry,  represents  the  Court  of  Neptune , 
with  conch-blowing  tritons,  sea  nymphs,  sea  horses,  serpents,  frogs  and  turtles. 

The  Entrance  Pavilion  has  sixteen  rounded  pillars  with  Corinthian  capitals. 
Four  colossal  Atlantes  support  the  pediment,  on  which  are  sculptured  Ameri- 
can eagles,  with  supporting  figures  of  children.  In  the  windows  are  nine 
colossal  portrait-busts  in  granite : Emerson  and  Irving,  by  Hartley ; Goethe, 

Franklin  and  Macaulay,  by  Ruckstuhl ; Hawthorne,  by  Hartley;  Scott,  by 
Adams ; Demosthenes  and  Dante,  by  Adams.  The  sculptures  over  the  en- 
trances by  Bela  L.  Pratt  typify  Literature,  Science  and  Art 

The  Bronze  Doors. 

Bronze  Door — Printing. — By  Frederick  Macmonnies. — Minerva  presiding 
over  the  “Diffusion  of  the  Products  of  the  Typographical  Art.”  Two  winged 
figures  of  youthful  genii  are,  as  her  envoys,  conveying  to  mankind  the  bless- 
ings of  learning  and  literature.  By  Minerva’s  side  is  her  owl ; other  sugges- 
tions are  the  hour-glass,  the  old-fashioned  printing  press,  the  stork  (as  the 
bird  of  home),  and  a Pegasus.  The  legend:  “ Homage  to  Gutenberg (Gu- 
tenberg was  the  inventor  of  printing,  Germany,  1400-1468.)  In  the  panels 
idealizations  are  of  Intellect  and  Humanities, 


Bronze  Fountain — Court  of  Neptune. 


THE  LIBRARY  OF  CONGRESS — FROM  THE  CAPITOL. 


58 


The  Library  of  Congress. 


Bronze  Door — Writing. — By  Olin  L.  Warner. — A 

mother  is  instructing  her  children  from  the  written 
record  of  the  scroll.  On’ one  side  is  an  Egyptian 
scribe  with  his  stylus,  and  a Jewish  patriarch;  on 
the  other,  a Greek  with  a lyre  and  a Christian  with 
the  cross.  In  the  panels  are  Truth  with  mirror 
and  serpent  and  Research  with  torch. 

Bronze  Door — Tradition. — By  Olin  L.  Warner. — 
Tradition  is  typified  as  a woman  reciting  her 
story  to  a boy.  Listening  to  the  tale  are  four 
representative  types  of  mankind — a Norse  war- 
rior, with  winged  cap  and  battle-axe;  a shep- 
herd with  his  crook ; a primitive  man  with  his  stone 
axe,  and  an  American  Indian  with  his  arrows. 
The  Indian  figure  is  a portrait  of  Chief 
Joseph  of  the  Nez  Perces.  In  the  left  panel  is 
Imagination  with  the  lyre,  emblematic  of  recitation  and  song;  in  the  right 
stands  widowed  Memory  clasping  the  sword  and  helmet  of  her  dead.  The 
genii  below  support  the  wings  of  Imagination  and  the  memorial  urn. 

Entrance  Pavilion — Vestibule. 

The  Minerva  of  Defensive  War  and  the  Minerva  of  Wisdom  and  the  Liberal 
Arts,  sculptural  figures,  by  Plerbert  Adams,  are  repeated  in  eight  pairs.  The 
white  marble  of  the  vestibule  is  from  Italy.  The  gold  of  the  ceiling  is  like 
that  of  the  dome,  22-carats  fine. 


Bronze  Door — Tradition. 


Entrance  Pavilion — Grand  Stair  Hall. 

The  Central  Stair  Hall  is  a magnificent  apartment,  unsurpassed  by  any 
other  entrance  hall  in  the  world.  It  is  lined  throughout  with  fine  Italian 
marble,  highly  polished.  On  the  sides  rise  lofty  rounded  columns,  with  ela- 
borate carved  capitals  of  Corinthian  design;  while  the  arches  are  adorned 
with  marble  rosettes,  palm  leaves  and  foliated  designs  of  exquisite  finish  and 
delicacy.  The  great  height  of  this  entrance  hall,  rising  72-ft.  to  the  skylight, 


PLAN  OF  THE  FIRST  FLOOR  AND  DECORATIONS. 


THE  NORTH  STAIRWAY  IN  THE  CENTRAL  STAIR  HALL. 


6o 


The  Library  of  Congress . 


with  its  vaulted  ceiling,  and  the  grand  double  staircase,  with  its  white  marble 
balustrades  leading  up  on  either  side,  exhibit  an  architectural  effect  which 
may  fitly  be  termed  imposing.  The  newel  posts  of  the  stairway  are  enriched 
by  beautiful  festoons  of  leaves  and  flowers,  and  are  surmounted  by  two  bronze 
lamp-bearers  for  electric  lights.  The  staircases  are  ornamented  with  twenty- 
six  miniature  marble  figures  by  Martiny,  carved  in  relief,  representing  in  em- 
blematic sculpture  the  various  arts  and  sciences.  This  beautiful  and  spacious 
entrance  hall  has  been  described  as  “a  vision  in  polished  stone,”  and,  taken  in 
connection  with  the  grand  corridors  and  the  richly  decorated  Reading  Room, 
the  Library  may  be  pronounced  the  finest  marble  interior  in  America. 
Commemorative  Arch. — The  spandrel  figures  by  Warner  are  of  Students , one 
a boy,  the  other  an  old  man,  for  books  are  alike  for  the  instruction  of  youth 
and  solace  of  age.  The  panel,  with  fasces  and  eagle  on  either  side,  records : 

Erected  under  the  acts  of  Congress  of  April  15,  1886;  October  2,  1888,  and  March  2,  1889,  by 
Brig.-Gen.  Thos.  Lincoln  Casey,  Chief  of  Engineers,  U.  S.  A.  Bernard  R.  Green,  Supt.  and  fc  ngi- 
neer.  John  L.  Smithmeyer,  Architect.  Paul  J.  Pelz,  Architect.  Edward  Pearce  Casey,  Architect. 

Martiny  Staircases. — In  the  south  stairway  railing  the  sculptures  are:  Me- 

chanic with  cog-wheel,  Hunter  with  rabbit,  Vintager  with  grapes  and  wine 
glass,  Farmer  with  sickle  and  sheaf  of  wheat,  Fisherman  with  rod  and  fish, 
Soldier  with  helmet,  Chemist  with  blowpipe,  and  Cook  with  steaming  pot. 
The  buttress  figures  are  of  America  and  Africa,  supporting  a globe  showing 
these  continents.  On  the  balustrade  above  are  Comedy,  Tragedy  and  Poetry. 

The  figures  of  the  north  stairway  are:  Gardener  with  rake  and  spade,  En- 

tomologist with  net  and  specimen  case,  Student  with  mortar-board  cap  and 
book,  Printer  in  paper  cap  with  press  and  type,  Musician  with  lyre  and  music 
book,  Physician  with  mortar,  retort  and  serpent,  Electrician  with  telephone 
and  electric  light,  Astronomer  with  telescope,  globe  and  compasses.  On  the 
buttress  are  Europe  (with  lyre,  book  and  column)  and  Asia  (with  dragon 
vase).  The  balustrade  figures  are  Painting,  Architecture  and  Sculpture. 

In  the  cove  of  the  ceiling  are  Martiny’s  flying  half-figures  supporting  the 
device  of  lamp  and  book.  Tablets  bear  the  names  of  Moses,  Herodotus,  Dante, 
Homer,  Milton,  Bacon,  Aristotle,  Goethe,  Shakespeare,  Moliere;  Cervantes, 
Hugo,  Scott,  Cooper,  Longfellow,  Tennyson,  Gibbon,  Bancroft. 

The  Points  of  the  Compass  radiate  from  a conventional  sun  inlaid  in  brass 
in  the  floor,  surrounded  by  the  Signs  of  the  Zodiac.  The  Building  faces  west. 


America  and  Africa. 


THE  ROTUNDA — READING  ROOM. 


62 


j}  The  Library  of  Congress. 


The  Muse  of  Lyric  Poetry. 

Entrance  Pavilion — South  Hall. 


Poetry. — By  H.  O.  Walker.  In  Lyric  Poetry,  the  central  figure  is  an  ideali- 
zation of  the  Muse,  laurel-crowned  and  striking  the  lyre.  She  is  attended  by 
Passion  with  arm  upraised  responding  to  the  strains,  Beauty,  and  Mirth, 
Pathos  with  eyes  raised  to  heaven,  Truth,  and  Devotion  with  bowed  head. 
Poets’  Boys. — Six  paintings  present  ideals  of  youthful  subjects  of  the  poets: 


Boy  of  Winander. 


Emerson— Uriel. 


This  was  the  lapse  of  Uriel, 

Which  in  Paradise  befell, 

Once  among  the  Pleiads  walking, 

Said  overheard  the  young  gods  talking. 

One,  with  low  tones  that  decide, 

And  doubt  and  reverend  use  defied, 

With  a look  that  solved  the  sphere, 

And  stirred  the  devils  everywhere, 

Gave  his  sentiment  divine 
Against  the  being  of  a line: 

Wordsworth— The 

There  was  a Boy;  ye  knew  him  well,  ye 

cliffs 

And  islands  of  Winander! — many  a time, 

At  evening,  when  the  earliest  stars  began 
To  move  along  the  edges  of  the  hills, 
Rising  or  setting,  would  he  stand  alone, 
Beneath  the  trees,  or  by  the  glimmering 
lake ; 

And  there,  with  fingers  interwoven,  both 
hands 

Pressed  closely  palm  to  palm  and  to  his 
mouth 

Uplifted,  he,  as  through  an  instrument, 
Blew  mimic  hootings  to  the  silent  owls, 
That  they  might  answer  him. — And  they 
would  shout 

Across  the  watery  vale,  and  shout  again, 


“Line  in  nature  is  not  found, 

Unit  and  Universe  are  round; 

In  vain  produced,  all  rays  return, 

Evil  will  bless  and  ice  will  burn.” 

As  Uriel  spoke  with  piercing  eye, 

A shudder  ran  around  the  sky; 

The  stern  old  war-gods  shook  their  heads, 
The  seraphs  frowned  from  myrtle-beds. 


Boy  of  Winander. 

Responsive  to  his  call,  with  quivering  peals, 
And  long  halloos,  and  screams,  and  echoes 
loud 

Redoubled  and  redoubled;  concourse  wild 
Of  jocund  din!  And,  when  there  came  a 
pause 

Of  silence  such  as  baffled  his  best  skill: 
Then,  sometimes,  in  that  silence,  while  he 
hung 

Listening,  a gentle  shock  of  mild  surprise 
Has  carried  far  into  his  heart  the  voice 
Of  mountain  torrents;  or  the  visible  scene 
Would  enter  unawares  into  his  mind 
With  all  its  solemn  imagery,  its  rocks, 

Its  woods,  and  that  uncertain  heaven  re- 
ceived 

Into  the  bosom  of  the  steady  lake. 


Hall  of  the  Poets. 


63 


This  boy  was  taken  from  his  mates,  and  died 
In  childhood,  ere  he  was  full  twelve  years 
old. 

Pre-eminent  in  beauty  is  the  vale 
Where  he  was  born  and  bred:  the  church- 
yard hangs 


Upon  a slope  above  the  village  school; 
And,  through  that  churchyard  when  my 
way  has  led 

On  summer  evenings,  I believe,  that  there 
A long  half-hour  together  I have  stood 
Mute— looking  at  the  grave  in  which  he  lies ! 


Comus.  Adonis. 

Milton— Comus. 


Comus,  the  enchanter,  in  the  wood  at  night,  listens  to  the  song  of  The  Lady,  and  at 
its  conclusion  exclaims: 

Can  any  mortal  mixture  of  earth’s  mould 
Breathe  such  divine,  enchanting  ravishment? 


Endymion. 


Ganymede. 


Shakespeare— Adonis. 

Adonis,  the  young  hunter  loved  by  Venus,  unmindful  of  the  entreaties  of  the  goddess, 
left  her  side  to  hunt  the  wild  boar,  by  which  he  was  slain.  Venus  discovers  him. 

She  looks  upon  his  lips,  and  they  are  pale; 

She  takes  him  by  the  hand,  and  that  is  cold; 

She  whispers  in  his  ears  a heavy  tale, 

As  if  they  heard  the  woeful  words  she  told; 

She  lifts  the  coffer-lids  that  close  his  eyes, 

Where,  lo,  two  lamps,  burnt  out,  in  darkness  lies. 

“Wonder  of  Time,”  quoth  she,  “this  is  my  spite 
That,  thou  being  dead,  the  day  should  yet  be  light!” 


Keats — Endymion. 

The  story  runs  that  from  her  silver  chariot  of  the  moon,  Diana  beheld  the  shepherd 
boy  Endymion  asleep  upon  Mount  Latmos;  and  enamored  of  his  beauty,  descended  to 
press  a kiss  upon  his  lips.  Night  after  night  in  her  course  across  the  heavens,  the  god- 
dess paused  to  caress  the  youth;  and  Endymion,  each  time  but  partially  awakened,  was 
conscious  of  her  presence  only  as  the  sweet  vision  of  a dream. 

Tennyson— Ganymede. 

When  Jupiter  came  down  to  earth,  to  seek  a successor  to  Hebe  as  Cupbearer  to  the 
Gods,  he  took  the  form  of  an  eagle,  and  flying  over  Mount  Ida,  saw  the  Trojan  Prince 
Ganymede,  whom  he  carried  off  to  Olympus.  Tennyson  in  his  “Palace  of  Art”  de- 
scribes, as  among  the  pictures  decorating  its  walls,  one  of  Ganymede  borne  aloft  by  the 
eagle — 

Or  else  flushed  Ganymede,  his  rosy  thigh 
Half-buried  in  the  Eagle’s  down, 

Sole  as  a flying  star  shot  thro’  the  sky 
Above  the  pillar’d  town. 


64 


The  Library  of  Congress . 


Joy  and  Memory. 


Joy  and  Memory  are  idealized  in 
the  painting  above  the  arch  in  the 
west  wall.  Joy  is  attended  by  a boy 
with  a lamb ; Memory  sits  by  a sculp- 
tured marble.  The  composition  sym- 
bolizes the  dual  office  of  poetry  as 
giving  expression  to  the  joyousness 
of  life  and  as  commemorating  the  men 


and  the  deeds  of  the  past.  The  inscription  is  from  Wordsworth: 


The  Poets,  who  on  earth  have  made  us  heirs 
Of  truth  and  pure  delight  by  heavenly  lays. 


In  the  mosaic  ceiling  are  names  of  poets : Theocritus,  Pindar,  Anacreon, 

Sappho,  Catullus,  Horace,  Petrarch,  Ronsard,  Longfellow,  Lowell,  Whittier, 
Bryant,  Whitman,  Poe,  Browning,  Shelley,  Byron,  Musset,  Hugo,  Heine. 

South  Curtain  Corridor. 

Greek  Heroes. — By  Walter  McEwen.  The  paintings  have  for  their  themes 
incidents  in  the  Greek  myths  of  Paris,  Jason,  Bellerophon,  Orpheus,  Per- 
seus, Prometheus,  Theseus,  Achilles  and  Hercules. 

Paris. — When  Juno,  Minerva  and  Venus  contended  as  to  which  was  the 
fairest,  they  left  the  decision  to  Paris,  a shepherd  boy  on  Mount  Ida.  To 
influence  him,  Juno  promised  him  power,  Minerva  martial  glory,  and  Venus  the 
most  beautiful  woman  in  the  world.  He  decided  in  favor  of  Venus,  and  she 
gave  him  Helen,  wife  of  Menelaus,  King  of  Sparta.  Paris  accordingly  repaired 
to  the  court  of  Menelaus.  and  Helen  eloped  with  him  to  Troy.  The  Greeks, 
making  the  cause  of  Menelaus  their  own,  besieged  Troy  to  recover  Helen, 
and  the  Trojan  War  followed. 

Theseus  sailed  with  a company  of  Athenian  youths  and  maidens  who  were 
sent  as  a tribute  to  King  Minos  of  Crete  to  be  given  over  to  the  Minotaur, 
a monster  half-bull  and  half  human,  which  fed  on  human  flesh.  Ariadne, 


Paris  at  the  Court  of  Menelaus  and  Helen. 


The  Greek  Heroes . 


Achilles.  Hercules. 

Pandora  holds  the  fateful  box,  from  which  were  to  be  let  fly  into  the  world 
all  human  ills,  only  Hope  remaining  to  bless  mankind. 

Hercules  having  killed  a man  was  condemned  to  serve  Omphale,  the  Queen 
of  Lydia,  as  a slave.  Appareled  in  feminine  dress,  the  hero  was  put  to  spin- 
ning and  other  woman’s  tasks. 

Achilles  w is  disguised  by  his  mother  as  a school  girl  and  sent  to  a distant 
court  in  order  that  he  might  not  be  enlisted  in  the  Trojan  War.  The  wily 
Ulysses  set  out  to  find  him,  and  assuming  the  character  of  a peddler  displayed 
his  wares.  The  girls  chose  feminine  trinkets,  but  Achilles  was  attracted  to 
a man’s  shield  and  casque,  and  thus  revealed  himself. 


the  daughter  of  Minos,  fell  in  love  with  Theseus,  and  gave  him  the  clue  of 
the  labyrinth,  by  which  he  was  enabled  to  reach  and  slay  the  Minotaur. 
Ariadne  set  sail  with  the  hero  for  Athens;  but  on  the  way,  at  the  isle  of 
Naxos,  Minerva,  in  a dream,  directed  Theseus  to  desert  her,  and  in  obedience 
to  the  command  he  sailed  away  and  left  Ariadne  sleeping. 

Prometheus  having  stolen  fire  from  heaven,  Jupiter  created  the  first  woman, 
Pandora,  for  the  punishment  of  mankind,  and  sent  her  to  Prometheus.  He 
refused  her,  and  vainly  cautioned  his  brother  Epimetheus  not  to  accept  her. 


Theseus. 


Prometheus: 


Bellerophon. 


66  The  Library  of  Congress . 


Jason.  Orpheus. 


Bellerophon,  commissioned  to  slay  the  Chimsera,  a monster  with  lion’s  head, 
goat’s  body  and  dragon’s  tail,  receives  from  Minerva  the  golden  bridle  of  the 
winged  horse  Pegasus,  by  whose  aid  he  is  to  accomplish  the  task. 

Perseus  was  sent  by  King  Polydectes  to  slay  the  Gorgon,  Medusa,  a crea- 
ture of  aspect  so  terrible  that  whoever  looked  upon  her  face  was  turned  to 
stone.  By  the  aid  of  Minerva  Perseus  beheaded  the  Gorgon,  and  returned  to 
the  court  of  Polydectes,  as  that  monarch  was  celebrating  with  a banquet  a 
forced  marriage  with  Danae,  the  mother  of  Perseus.  The  hero  came  just  in 
time  to  rescue  his  mother  by  confronting  the  King  and  his  company  with 
the  Gorgon’s  head  and  so  turning  them  into  stone. 

Jason  was  the  leader  of  the  expedition  of  the  Argonauts,  who  went  in  quest 
of  the  Golden  Fleece.  This  was  the  fleece  of  a ram,  which  was  preserved  by 
the  King  of  Colchis,  and  guarded  by  a dragon.  By  the  aid  of  the  sorceress 
Medea,  Jason  was  successful  and  brought  the  Fleece  back  to  Athens. 
Orpheus,  having  failed  to  bring  back  his  wife  Eurydice  from  the  realms 
of  Pluto,  retired  to  Mount  Athos.  Here  his  solitude  was  invaded  by  the 
Thracian  women  celebrating  their  Bacchic  rites ; and  when  he  repelled  their 
advances,  in  their  fury  they  stoned  him  to  death. 

Representatives’  Reading  Room. 

Mosaic  Mantels. — By  Frederick  Dielman.  The  mantels  of  Italian  marble 
are  the  richest  and  most  beautiful  adornments  of  the  building.  The  mosaic 
panels  (exceeding  7 feet  by  3 feet  in  size)  have  for  subjects  Law  and  History. 

Law,  a woman  of  radiant  countenance  and  wearing  the  aegis,  is  enthroned 
upon  a dais.  At  her  feet  are  doves  of  peace,  the  bound  volume  of  the  sta- 
tutes, and  the  scales  of  justice.  She  holds  a palm  branch  toward  Truth  with 
her  lilies,  Peace  with  twig  of  olive,  and  Industry  with  artisan’s  cap  and  ham- 
mer ; and  interposes  a sword  against  skulking  Fraud,  Discord  with  malign 
serpents,  and  Violence  with  sword  and  torch. 

History. — In  the  center  stands  the  Muse  of  History  with  recording  pen  and 
gold-clasped  volume.  In  the  panels  are  names  of  great  historians : Herod- 

otus, Thucydides,  Polybius,  Livy,  Tacitus,  Bseda,  Comines,  Hume,  Gibbon, 
Niebuhr,  Guizot,  Ranke,  Bancroft,  Motley.  On  the  left  side  sits  Mythology 
with  recording  stylus  and  globe  symbolic  of  the  myths  £>f  the  worlds.  Beside 
her  are  a winged  Sphinx  and  Pandora’s  box.  On  the  right  is  the  venerable 
figure  of  Tradition,  and  by  her  with  a lyre  sits  a youthful  poet,  who  will  sing 
the  story  that  she  tells.  In  the  distance  back  of  Mythology,  rise  the  Pyramids 


Representatives’  Reading  Room. 


6 7 


Mosaic  Mantel— Law. 

of  Egypt,  back  of  History  the  Parthenon  of  Greece,  and  beyond  Tradition 
the  Colosseum  of  Rome. 

The  oak  tympanums  over  the  doors  are  by  C.  H.  Niehaus  with  mo- 
tives of  Minerva’s  owl  and  the  American  eagle. 

Pictorial  Spectrum  of  Light. — Carl  Gutherz  has  painted  in  ceiling  panels 
idealizations  of  the  seven  primary  colors:  Indigo,  the  Light  of  Science. 

Blue,  the  Light  of  Truth.  Green,  the  Light  of  Research.  Yellow,  the  Light 
of  Creation.  Orange,  the  Light  of  Progress.  Red,  the  Light  of  Poetry. 
Violet,  the  Light  of  State. 

Senate  Reading  Room. 

The  Senate  Reading  Room  ceiling  is  decorated  with  a gold  ground  on  which 
are  floating  female  figures.  Above  the  mantel  is  carved  the  shield  of  the 
Union  surmounted  by  the  American  Eagle.  (By  Adams.) 


Mosaic  Mantel — History. 


68 


The  Library  of  Congress. 


Entrance  Pavilion — Reading  Room  Lobby. 

Government  of  the  Republic  and  the  results  of  good  and  bad  administration 

are  symbolized  by  Elihu  Vedder  in  five  paintings  as  follows: 

Government . majestic  of  mien  and  laurel-crowned,  holds  the  scepter,  and  a 
tablet,  on  which  is  Lincoln’s  characterization : “A  government  of  the  people, 

by  the  people,  for  the  people.”  Genii  bear  the  sword  of  authority  and  the  bridle 
of  restraint.  The  oak  typifies  strength. 

Good  Administration,  the  genius  of  America,  is  seated  beneath  an  arch,  of 
which  each  stone  fills  its  office  of  support  for  all  the  others,  as  every  State 


Government. 


Good  Administration. 


must  contribute  to  the  upholding  of  the  Union.  She  holds,  evenly  balanced, 
the  scales  of  justice,  and  supports  a shield  whose  divisions  represent  the  idea 
of  political  parties.  In  her  lap  is  the  open  book  of  the  laws.  To  one  ballot 
urn  comes  a youth  to  cast  his  vote;  his  books  indicate  that  intelligence  must 
qualify  for  the  franchise.  Into  the 
other  urn,  public  opinion  winnows  the 
wheat  from  the  chaff.  The  fig  tree  and 
the  wheat  fields  indicate  domestic  tran- 
quility. Good  administration  insures 
peace  and  prosperity. 

Peace  and  Prosperity  are  symbolized 
by  a goddess  who  extends  laurel 
wreaths  in  token  of  encouragement 
and  reward  to  Agriculture  and  Art.  peaCe  and  Prosperity. 

In  the  background  is  the  olive  tree. 

Corrupt  Legislation  has  gathered  to  herself  cornucopias  of  gold,  the  sources  ot 
which  are  shown  by  the  corruptionist  placing  his  bribe  in  her  sliding  scale. 
That  the  Briber  has  purchased  legislation  is  indicated  by  the  book  of  the  law 
which  he  holds  on  his  own  lap,  and  by  the  overthrown  ballot  urn  at  his  feet 


Corrupt  Legislation. 


Anarchy. 


The  Book  Series. 


69 


The  Cairn. 


Oral  Tradition. 


The  strong  box,  the  coin  and  the  busy  factories  tell  of  his  prosperity.  Honest 
Industry,  with  empty  distaff,  sues  for  recognition  in  vain.  The  factory  chim- 
neys in  the  distance  are  smokeless.  The  flying  leaves  of  the  vine  presage  decay. 
Anarchy , holding  aloft  as  a brand  the  flaming  scroll  of  the  Constitution  and 
clutching  the  cup  of  madness,  is  here  the  presiding  genius  amid  universal 
wreck  and  ruin.  Serpents  are  twisted  in  her  hair.  One  foot  rests  upon  the 


Hieroglyphics.  The  Pictograph. 

downfallen  arch  of  the  State;  with  the  other  she  is  spurning  religion,  learn- 
ing, art  and  law.  Ignorance  and  Violence  are  assisting  in  the  overthrow.  The 
broken  mill  and  cog  wheels  typify  the  ruin  of  industries.  The  tree  is  withered 
and  dead.  The  bomb  with  fuse  alight  foretells  the  end. 


Entrance  Pavilion — East  Hall. 

The  Evolution  of  the  Book. — By  John  W.  Alexander,  a series  of  six  panels: 

1.  The  Cairn  erected  by  prehistoric  man  on  the  seashore,  a mere  heap  of 
boulders  to  commemorate  some  notable  event.  2.  Oral  Traditions. — The  Ori- 
ental story-teller,  relating  his  tale  to  a group  of  absorbed  listeners.  3.  Hiero- 
glyphics chiseled  upon  the  face  of  a monumental  tomb  by  the  Egyptian  stone- 
cutter. 4.  The  Pictograph , or  picture  writing,  by  winch  the  primitive  Ameri- 
can Indian  records  on  the  painted  buffalo  robe  his  rude  story  of  the  war  trail 


The  Manuscript. 


The  Printing  Press. 


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72  The  Library  of  Congress . 

and  the  chase.  5.  The  Manuscript 
engrossed  and  illuminated  by  the 
monastic  scribes  of  the  Middle  Ages. 

6.  The  Printing  Press. — Gutenberg, 
the  inventor  of  printing,  is  reading  a 
proof  which  has  just  come  from  the 
press. 

The  Ceiling  Decorations  are  em- 
blems of  arts  and  sciences,  with 
names  of  Americans  who  have 
achieved  distinction  in  them : Archi- 
tecture— Latrobe,  Walter,  architects 
of  the  Capitol.  Music — Mason,  Gottschalk.  Painting — Stuart,  Allston. 

Sculpture  — Powers,  Crawford.  Poetry  — Emerson,  Holmes.  Natural 
Science  — Say,  Dana.  Mathematics  — Pierce,  Bo  wd  itch.  Astronomy — 

Bond,  Rittenhouse.  Engineering — Francis,  Stevens.  Natural  Philosophy — 

Silliman,  Cook.  Medicine — Cross,  Wood,  McDowell,  Rush,  Warren.  Law — 
Hamilton,  Kent,  Pinckney,  Shaw,  Taney,  Marshall,  Story,  Gibson,  Webster, 
Curtis.  Theology — Mather,  Edwards,  Channing,  Beecher,  Brooks. 

Librarian’s  Room. 

In  the  ceiling  of  the  Librarian’s  room  is  E.  J.  Holslag’s  idealization  of 

Literature , as  a woman  of  benign 
aspect;  she  holds  a scroll,  and  is  at- 
tended by  a youthful  genius  bearing 
a lamp.  The  theme  is  repeated  in 
other  female  figures  in  the  corners  be- 
low, with  the  symbols  of  book,  torch 
and  lute.  The  ceiling  decoration 
shows  the  Greek  lamp,  Minerva’s  owl, 
books,  palms,  girls  with  garlands  and 
heralds  of  fame.  The  wall  and  ceiling  quotations  are  given  elsewhere. 


Floating  Scroll  Bearers. 


North  Hall  of  Entrance  Pavilion. 


Entrance  Pavilion — North  Hall. 

The  Family. — Charles  Sprague  Pearce’s  paintings  have  for  their  theme  The 
Family,  and  Religion,  Labor,  Study,  Recreation  and  Rest,  as  elements  of  civil- 


The  Family. 


The  Family. 


73 


Labor.  Study. 

ization.  In  The  Family  the  central  figure  is  the  child  in  arms,  which  the 
mother  holds  out  to  crow  a welcome  to  the  father  just  returned  from  the 
hunt.  There  are  two  older  sisters  in  the  group,  while  the  grandfather  and  the 
grandmother  look  on  with  fond  affection.  In  Religion,  two  worshippers  kneel 
before  a stone  altar,  from  which  ascends  the  smoke  of  their  sacrifice. 
Labor  is  represented  by  two  young  farmers  clearing  the  land.  In  the  other 
panels  are  girlish  figures;  in  Study,  with  books  and  compasses;  in  Recreation , 


Recreation.  Rest. 

delighting  in  the  music  of  pipe  and  tambourine ; in  Rest,  reclining  by  an  invit- 
ing pool.  Above  the  window  two  floating  figures  support  a scroll  with  the  wise 
saying  of  Confucius : “Give  instruction  unto  those  who  cannot  procure  it  for 
themselves.”  In  the  ceiling  are  names  of  educators : Froebel,  Pestalozzi, 
Rousseau,  Comenius,  Ascham,  Howe,  Gallaudet,  Mann,  Arnold,  Spencer. 


Religion. 


74 


The  Library  of  Congress . 


North  Curtain  Corridor. 


The  Muses.— Edward  Simmons.  M elp omene , Muse  of  Tragedy,  has  the 
tragic  mask.  T he  genii  hold  laurel  crown  and  brazier  of  fire,  suggestions 
which  are  repeated  in  the  other  paintings.  Clio , Muse  of  History,  whose 
records  are  of  heroic  deeds,  has  for  symbols  a wreathed  helmet  and  torch. 
1 halia,  Muse  of  Gaiety,  Pastoral  Life  and  Comedy;  faun  with  Pan’s  pipes; 


Euterpe— Lyric  Poetry,  Mistress  of  Song.  Terpsichore— Choral  Dance. 


Urania — Astronomy. 


Calliope— Epic  Poetry  and  Eloquence. 


Clio — History. 


Thalia — Gaiety,  Pastoral  Life  and  Comedy. 


Erato — Love  Poetry. 


Polyhymnia — Inspired  Song,  Sacred  Music. 


comic  mask.  Euterpe,  Muse  of  Lyric  Poetry,  the  Mistress  of  Song,  has  a 
flute.  Terpsichore,  Muse  of  the  Choral  Dance,  is  striking  the  cymbals.  Erato, 
Muse  of  Love  Poetry,  has  a garland  of  white  roses;  a crouching  lioness  typi- 
fies her  universal  sway.  Polyhymnia,  Inspired  Song  and  Sacred  Music — an 
open  book.  Urania,  Astronomy — mathematical  instruments.  Calliope , Epic 
Poetry  and  Eloquence — scroll  and  peacock  feather. 


THE  MOSAIC  MINERVA. 
By  Elihu  Vedder. 


7 6 


The  Library  of  Congress. 


Prudence.  Courage.  Patriotism.  Fortitude. 

THE  VIRTUES. 

THE  SECOND  FLOOR 
Entrance  Pavilion — North  Corridor. 

The  Virtues.-— Geo.  W.  Maynard’s  paintings  of  floating  female  figures,  in  the 
Pompeiian  style,  on  a vermillion  ground,  symbolize  the  Virtues.  Fortitude  is 
armor-clad,  with  casque,  cuirass  and  greaves,  buckler  and  mace.  Justice  sup- 
ports a globe,  and  holds  a drawn  sword.  Industry’s  emblems  are  the  spindle, 
distaff  and  flax.  Concordia,  with  olive  branch,  pours  from  a cornucopia 
grains  of  wheat  symbolic  of  the  prosperity  of  peace.  (See  South  Corridor.) 
Wisdom,  Understanding,  Knowledge,  Philosophy. — By  Robert  Reid.  Wis- 
dom holds  a tablet.  Understanding  has  a scroll.  Knowledge  holds  a book. 


Wisdom.  Understanding.  Knowledge.  Philosophy. 

Philosophy  s attitude  is  of.  reflection  and  meditation;  in  the  background  is  a 
Greek  temple,  the  ancient  home  of  philosophy. 

The  Senses.— By  Robert  Reid.  In  the  ceiling  the  Senses  are  idealized  as 
beautiful  young  women.  Taste  is  sipping  from  a shell;  the  accessories  are 
bunches  of  grapes.  Sight  contemplates  herself  in  a hand  glass;  she  is  at- 
tended by  a peacock,  pleasing  to  look  upon.  Smell  inhales  the  fragrance  of  a 
full-blown  rose,  plucked  from  a bank  of  flowers  by  her  side.  Hearing  presses 


North  Corridor. 


77 


Taste.  Hearing.  Smell.  Touch.  Sight. 

THE  SENSES. 

of  sciences  and  industries — Geometry,  Meteorology,  Forestry,  Navigation, 
Mechanics,  Transportation. 

Sibyls. — The  sculptures  in  the  vault,  above  the  west  window,  by  R.  H.  Perry, 
represent  the  Sibyls,  or  ancient  prophetesses,  who  interpreted  omens,  delivered 
oracles,  and  foretold  the  future.  The  Sibyls  here  portrayed  are  the  Greek  and 
the  Eastern  or  Persian.  In  a corresponding  position  in  the  south  corridor 
are  the  Roman  and  Scandinavian.  In  the  border  of  the  arch  above  this  win- 
dow is  in  obverse  and  reverse  the  Great  Seal  of  the  United  States.  Over  the 
east  window  is  the  JVe  stern  Hemisphere. 


to  her  ear  a shell  which  murmurs  of  the  sea.  Touch  looks  with  delight  upon 
a butterfly  which  has  alighted  on  her  arm ; by  her  lies  a dog. 

Ancient  Games  are  shown  in  small  ceiling  panels,  suggestive  of  the  relaxation 
and  recreation  which  must  lighten  labor  and  study — Throwing  the  Discus, 
Wrestling,  Running,  the  Finish,  the  Wreath  of  Victory,  the  Triumph. 
Printers’  Marks,  the  distinctive  emblematic  devices,  answering  to  trade- 
marks, used  by  printers  and  publishers  on  the  title-pages  of  their  books,  are 
employed  as  motives  in  all  the  entrance  pavilion  corridors  of  this  floor.  There 
are  fifty-six  in  all,  the  earliest  being  that  of  Fust  and  Schoffer,  1457.  The 
marks  in  this  corridor  are  of  American  and  British  publishers ; the  supporting 
figures  are  griffins  and  swans.  The  trophy  medallions  are  filled  with  symbols 


Temperance. 


Justice.  Concordia. 

THE  VIRTUES. 


Industry. 


7 8 


The  Library  of  Congress. 


Entrance  Pavilion — East  Corridor. 

Literature. — In  the  ceiling  George  R.  Barse,  Jr.,  has  painted  a series  of  female 
figures  personifying  the  departments  of  Literature.  Lyrica  (Lyric  Poetry) 
with  lyre,  Tragedy  with  tragic  mask,  Comedy  with  laughing  mask  and  tam- 
bourine, History  with  palm  branch,  scroll,  and  scroll-box,  Romance  with  pen, 
scroll  and  wreath,  Fancy  musing  as  in  a day  dream,  Tradition  with  a Nike 
or  Winged  Victory,  Erotica  (Love  Poetry)  with  tablet  and  pen. 

The  Fates. — In  ceiling  panels  W.  A.  Mackay  has  taken  for  his  theme  the 
Thread  of  Life  as  spun  by  the  Three  Fates  fabled  by  the  ancients  to  preside 
over  the  life  of  man  and  control  his  destiny — Clotho,  who  spins  the  thread, 
Lachesis,  who  twists  it,  and  Atropos,  who  cuts  it.  Clotho  is  here  with  her 
distaff.  The  child  is  just  ushered  into  life.  There  is  a twig  of  a tree.  The 
legend  runs : “For  a web  begun,  God  sends  thread.”  In  the  second  panel  is 
Lachesis,  with  her  loom.  The  child  has  become  a mature  man,  the  tree  is  in 
full  bearing,  and  from  its  boughs  the  man  has  plucked  a measure  of  fruit. 
The  legend  reads : “The  web  of  life  is  of  a mingled  yarn,  good  and  ill  to- 
gether.” Lastly  is  seen  Atropos,  with  her  shears;  and  before  her  the  decrepit 
old  man  on  crutches  is  sinking  to  the  ground,  his  face  turned  to  the  setting  sun. 
The  tree  is  withered  and  bare.  The  inscription  is  from  Milton’s  “Lycidas.” 

And  slits  the  thin-spun  life. 

Comes  the  blind  Fury  with  th’  abhorred  shears 

The  inscriptions  below  the  three  panels  give  this  adaptation  of  Cardinal 
Wolsey’s  similitude  of  the  life  of  man  to  that  of  the  tree: 

This  is  the  state  of  man.  To  day  he  puts  forth 

The  tender  leaves  of  hopes;  to-morrow  blossoms, 

And  bears  his  blushing  honors  thick  upon  him. 

The  third  day  comes  a frost  and  nips  his  root,  and  then  he  falls. 

The  Printers'  Marks  are  Italian  and  Spanish.  The  Commemorative  Tablets, 
at  the  end  of  the  corridor,  bear  the  names  of  American  printers,  type  founders 
and  press  builders:  Green,  Daye,  Franklin,  Thomas,  Bradford,  Clymer, 

Adams,  Gordon,  Hoe,  Bruce. 

L’Allegro,  II  Penseroso. — Paintings  on  the  Wall,  by  W.  B.  Van  Ingen,  are 
idealizations  of  Milton’s  L’Allegro  and  II  Penseroso.  L’Allegro,  or  Mirth, 
a fair-haired,  blue-eyed  woman,  reclines  amid  the  flowers  and  sunshine  of  a 
summer’s  day,  attended  by  playful  children.  Milton’s  invocation  is  given: 

Come  thou  goddess  fair  and  free,  Quips,  and  cranks,  and  wanton  wiles. 

In  Heaven  ycleped  Euphrosyne,  Nods  and  becks,  and  wreathed  smiles, 

And  by  men,  heart-easing  Mirth.  Such  as  hang  on  Hebe’s  cheek, 

Haste  thee,  nymph,  and  bring  with  thee  And  love  to  live  in  dimple  sleek. 

Jest  and  youthful  jollity, 

II  Penseroso , or  Melancholy,  is  pictured  as  a dark-eyed,  dark-haired  woman, 
in  pensive  reverie,  in  an  autumnal  wood;  and  the  poem  is  quoted: 

TTail,  thou  goddess,  sage  and  holy,  And  looks  commercing  with  the  skies, 

Hail  divinest  Melancholy,  Thy  rapt  soul  sitting  in  thine  eyes: 

Come,  but  keep  thy  wonted  state,  There,  held  in  holy  passion  still. 

With  even  step  and  musing  gait,  Forget  thyself  to  marble. 

The  marble  arches  and  domes  are  elaborately  carved,  and  have  a wealth  of 
symbolic  decorations.  Trophy  medallions  in  the  six  4omeS  represent  The 


Stairway  to  Reading  Room. 


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II  Penseroso.  L’ Allegro. 


Drama  (masks),  Music  (lyre),  Sculpture  (carved  figure),  Literature  (lamp 
and  book),  Architecture  (a  column  capital),  Painting  (palette  and  brush). 
Architecture  is  represented  by  the  names  in  gold.  Roman  and  the  Colosseum, 
Agra  (India)  and  the  Taj  Mahal,  Athens  and  the  Parthenon,  Gizeh  and  the 
Pyramids.  For  Sculpture  are  named  the  Farnese  Bull,  Laocoon,  Niobe,  Par- 
thenon Pediment;  Venus,  Apollo,  Zeus,  Hercules. 

Stairway  to  Reading  Room  Rotunda, 


Minerva. — By  Elihu  Vedder.  From  the  east  corridor  a stairway  ascends  to 
the  balcony  of  the  reading  room;  on  the  wall  of  the  landing  is  Elihu  Vedder’s 

mosaic  of  Minerva,  the  Goddess  of  Wisdom. 
She  displays  a scroll  upon  which  is  inscribed  a 
list  of  the  Sciences,  Arts  and  Letters.  She 
carries  her  spear;  upon  her  breast  is  the  segis, 
with  its  Gorgon’s  head,  plates  of  steel,  and  bor- 
der of  twisted  serpents;  and  at  her  feet  lie  hel- 
met and  shield.  On  her  right  is  the  owl ; on  her 
left  a statuette  of  Nike,  the  Winged  Victory  of 
the  Greeks,  standing  upon  a globe,  and  extend- 
ing the  wreath  of  victory  and  the  palm  branch 
of  peace.  The  background  shows  a fair  stretch- 
ing landscape,  and  the  sun  of  prosperity  sheds 
its  effulgence  over  all.  The  enrollment  on  the 
scroll  reads : Agricultural,  Education,  Me- 

chanics, Commerce,  Government,  History, 
Astronomy,  Geography,  Statistics,  Economics, 
Sculpture,  Architecture,  Music,  Poetry,  Biogra- 
phy, Geology,  Botany,  Medicine,  Philosophy,  Law,  Politics,  Arbitration, 
Treaties,  Army,  Navy,  Finance,  Art  of  War. 


Stairway  to  Rotunda. 


Entrance  Pavilion — South  Corridor. 


The  Virtues.— By  Geo.  W.  Maynard.  Patriotism  supports  on  her  arm  the 
American  eagle,  which  she  is  feeding  from  a golden  bowl.  Courage , wearing 
a casque,  is  equipped  with  sword  and  buckler.  Temperance  pours  water  from 
a pitcher.  Prudence  has  for  symbols  the  mirror  and  the  serpent. 


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Tne  Seasons,  By  F.  W.  Benson, 

The  Seasons.=By  F.  W Benson,  The  Seasons  are  personified  by  female 
figures,  with  varying  landscape  and  development  of  vegetation.  Spring  with 
a bud,  Summer  with  a lapful  of  full  blown  blossoms,  Autumn  with  flying 
draperies,  and  the  falling  leaf ; Winter  in  a landscape  cold  and  bleak. 

The  Graces.— R W,  Benson  in  ceiling  panels  celebrates  The  Graces,  the 
ancient  goddesses  of  whatever  is  lovely  in  nature,  human  life  and  art.  Aglaia , 
patroness  of  pastoral  life  and  husbandry,  with  shepherdess  crook,  sits  on  a 
bank  of  flowers,  and  blossoms  are  in  her  hair.  Thalia,  patroness  of  the  arts, 
is  seated  upon  a marble  bench,  by  her  side  is  a lyre  for  Music,  in  the  back- 
ground a Greek  temple  for  Architecture.  Euphrosyne,  patroness  of  human 
loveliness  of  person  and  mind,  contemplates  in  a mirror  her  own  fair  face. 

The  Printers’  Marks  are  French;  their  supporting  figures  are  wood  nymphs, 
fauns,  tritons  and  mermaids,  with  Pan’s  pipes,  conch  shells  and  dolphins. 
The  Trophy  Medallions  of  the  ceiling  contain  symbols  of  trades  and  indus- 
tries : Printer,  Potter,  Glass  Maker,  Carpenter,  Blacksmith,  Mason.  Two 

panels  illustrate  the  modern  Baseball  and  Football. 

Sibyls .■ — Above  the  west  window  are  sculptures  by  Perry,  of  the  Roman 
Sibyl,  pictured  as  an  aged  crone,  who  from  beneath  her  veil  delivers  the  oracle 
to  a warrior  clad  in  mail;  and  the  Northern  Sibyl  clad  in  fur  robes,  a Norse 
warrior  attends  her  utterance.  Above  the  windows  are  the  Caduceus  and  the 
Mace,  ensigns  of  authority,  and  a medallion  map  of  the  Eastern  Hemisphere. 

Entrance  Pavilion — West  Corridor. 

The  Sciences. — Walter  Shirlaw’s  ceiling  paintings  comprise  a series  of  female 
figures  ideal  of  the  Sciences.  Zoology  clad  in  skins  of  wild  beasts  caresses  a 
lion.  Physics  holds  the  torch  of  investigation.  Mathematics  has  a scroll  on 
which  geometrical  lines  are  drawn,  and  her  foot  rests  upon  a block  of  geo- 


Aglaia. 


Euphrosyne. 
THE  GRACES 


Thalia. 


'Southwest  Gallery. 


81 


metrical  solids.  Geology , with  a globe,  mineral,  fossil  shell ; the  earth  and 
the  moon  are  shown.  Archeology,  with  Minerva’s  helmet,  a marble  scroll  and 
Zuni  vase,  is  seeking  to  decipher  the  record  contained  in  an  ancient  book. 
Botany,  standing  upon  the  pad  of  a water  lily,  analyzes  its  blossom.  Astron- 
omy, with  feet  planted  upon  the  earth,  holds  a telescopic  lens  and  the  sphere 
of  Saturn  with  its  rings.  The  moon  is  shown  in  its  crescent  phase.  Chemis- 
try’s symbols  are  glass  retort,  hour  glass  and  serpent. 

Southwest  Gallery. 

The  Sciences — The  Arts. — By  Kenyon  Cox.  In  the  Sciences  Astronomy  in 
the  center  measures  a celestial  sphere;  the  other  figures  are  Botany,  in  dress 
of  green  and  gold;  Zoology,  toying  with  a peacock;  Mathematics,  with  a 
numeral  frame  on  which  the  heads  count  the  year  1896.  In  the  Arts  Poetry, 
laurel-crowned,  sings  to  the  lyre;  the  other  figures  are  Sculpture  and  Paint- 
ing, Architecture  and  Music. 

Above  the  doors  and  windows  are  inscribed  names  eminent  in  science  and 
art,  running  in  this  order  from  the  north  entrance : Homer,  Michael  Angelo, 
Raphael,  Rubens,  Milton,  Leibnitz,  Dalton,  Kepler,  Herschel,  Galileo,  Aris- 
totle, Ptolemy,  Hipparchus,  Lamarck,  Helmholtz,  Phidias,  Vitruvius,  Bra- 
mante,  Mozart,  Wagner. 

The  ceiling  medallions  by  W.  B.  Van  Ingen  are  female  figures  typifying 
Painting  (at  work  at  the  easel),  Architecture  (drawing  a plan  of  a building), 
and  Sculpture  (chiseling  a bust  of  Washington).  The  Printers’  Marks  are 
of  German  craftsmen.  Tablets  record  names  distinguished  in  the  sciences: 
Cuvier  for  Zoology,  Rumford  for  Physics,  LaGrange  for  Mathematics,  Lyell 
for  Geology,  Schliemann  for  Archaeology,  Linnaeus  for  Botany,  Copernicus 
lor  Astronomy,  Lavoisier  for  Chemistry. 


The  Arts. 


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Southwest  Pavilion. 

The  Discovery  and  Settlement  of  America  are  the  themes  of  Geo.  W.  May- 
nard’s decorations.  The  four  wall  paintings  are  allegories  of  Adventure,  Dis- 
covery, Conquest  and  Civilization. 

Adventure , clad  in  armor  of  gold  and  purple  robes,  holds  a drawn  sword 
and  the  Caduceus,  or  Mercury’s  magic  wand.  On  her  right  is  the  genius  of 
the  England  of  Drake’s  time;  on  her  left  that  of  the  Spain  of  the  sixteenth 
century.  Discovery  wears  the  sailor’s  buff  jerkin  of  the  sixteenth  century. 
She  supports  with  one  hand  a rudder,  and  with  the  other,  upon  her  lap,  a 
globe  charted  with  the  map  ascribed  to  Leonardo  da  Vinci  (about  1500),  the 
first  one  known  to  show  America.  The  genius  on  her  right  has  a chart  and 
a paddle;  the  one  on  her  left  a sword  and  a back-staff,  which,  like  the  astro- 
labe shown  in  the  supporting  shields,  was  a primitive  quadrant.  Conquest 
firmly  grasps  her  sword,  while  her  genii  display  emblems  of  victory;  one  has 
the  palm,  typical  of  Spanish  achievement  in  the  South:  the  other  the  oak, 
suggesting  England’s  acquisitions  in  the  North.  Civilization s emblems  are 
the  torch  and  the  open  book;  those  of  one  genius,  a scythe  and  a sheaf  of 
wheat;  of  the  other,  a distaff  and  spindle.  In  the  ceiling  Mr.  Maynard  has 
pictured  Courage,  Valor,  Fortitude  and  Achievement,  idealized  in  woman’s 
form.  Courage,  clad  in  scale-armor  and  a lion’s  pelt,  is  equipped  with  shield 
and  studded  war  club.  Valor,  wearing  mail,  holds  a drawn  sword.  Fortitude, 
with  flowing  robes,  carries  the  ornamental  column  which  is  the  emblem  of 
sustaining  strength.  Achievement,  in  Roman  armor,  points  to  the  eagle  of 
ancient  Rome  as  the  symbol  of  victory. 

The  Seasons. — In  sculpture  reliefs,  by  Bela  L.  Pratt,  the  Seasons  are 
symbolized  as  female  figures:  Spring , as  a young  woman  sowing  grain; 


The  Seasons.  Sculptures  by  Bela  L.  Pratt. 


Summer , seated  amid  flowers;  Autumn,  a mother  nursing  her  babe, 
while  a boy  stands  near  her  with  bunches  of  grapes;  Winter,  an  aged  woman 
gathering  fagots ; an  owl  is  perched  on  the  withered  tree.  The  series  is  re- 
peated in  the  other  pavilions. 

Southeast  Pavilion — Second  Floor. 

The  Four  Elements  are  symbolized  in  the  wall  and  ceiling  paintings  by  R. 
L.  Dodge  and  E.  E.  Garnsey.  In  each  panel  a central  figure  as  the  personifi- 
cation of  the  Element  supports  emblematic  garlands,  the  other  ends  of  which 
are  held  by  genii  in  the  corners.  Reclining  figures  are  accompanied  with 
symbols,  and  other  symbols  are  seen  on  the  standards  and  in  the  borders. 


Northwest  Gallery  and  Northwest  Pavilion . 


83 


The  Sun,  as  the  chariot  of  Phoebus-Apollo,  is  the  central  decoration  of  the 
ceiling;  and  surrounding  it,  in  order  corresponding  with  the  wall  panels,  are 
further  symbolizations  of  the  Elements. 

Northwest  Gallery. 

War  and  Peace. — By  Gari  Melchers.  War  represents  the  return  from  battle. 
The  dogs  of  war  strain  at  the  leash;  then,  foot  soldiers  with  spear  and 
buckler;  the  King  on  his  white  horse,  riding  over  the  prostrate  bodies  of  the 
slain;  the  color-bearer  and  herald  proclaiming  victory,  and  the  wounded  car- 


War. 


ried  on  litters  or  attended  by  nurses  in  the  rear.  In  Peace,  the  scene  is  a 
procession  of  worshippers  who  have  come  to  make  their  votive  offering  at 
the  shrine  of  the  deity.  The  effigy  of  the  goddess  is  borne  in  state;  an  ox 
is  led  as  the  chief  offering.  In  the  company  come  a mother  to  pray  in  behalf 


Peace. 


of  her  child,  the  sick  to  ask  health,  a poet  to  offer  his  laurel  wreath,  and  a 
sailor  lad  with  a ship’s  model  in  token  of  gratitude  for  succor  at  sea. 

The  Names  on  the  walls  are:  Wellington,  Washington,  Charles  Martel, 
Cyrus,  Alexander,  Hannibal,  Caesar,  Charlemagne,  Napoleon,  Jackson,  Sheri- 
dan, Grant,  Sherman,  William  the  Conqueror,  Frederick  the  Great,  Eugene, 
Marlborough,  Nelson,  Scott,  Farragut. 

Northwest  Pavilion. 

Art,  Literature,  Music  and  Science. — By  W.  L,  Dodge.  In  Art  a student  is 
drawing  from  a model,  while  a sculptor  is  seen  chiseling  a sphinx,  and  a 
woman  decorating  a vase.  Literature  has  for  its  leading  personage  the  Genius 
of  Wisdom  holding  an  open  book,  with  Tragedy  and  Comedy,  a poet  about 
to  be  crowned  by  Fame,  and  a mother  instructing  her  children.  In  Music r 
Apollo  is  accompanied  by  other  musicians.  In  Science  Electricity,  with  phono- 


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The  Library  of  Congress. 


graph  and  telephone,  kneels  to  receive  from  winged  Fame  the  laurel  wreath  of 
renown;  Franklin’s  kite  is  seen  on  the  ground.  Steam  Navigation  is  repre- 
sented by  an  inventor  holding  a model  of  a propeller;  Agriculture  by  a farmer 
binding  grain ; Medical  Science  by  anatomists  examining  a skull ; Chemistry 
by  a retort,  and  the  application  of  Steam  Power  by  a tea-kettle  with  the  steam 
escaping  from  the  spout.  In  the  ceiling  is  an  allegory  of  Ambition  by  the 
same  artist.  Various  aspirants  having  attained  the  utmost  verge  of  human 
endeavor,  with  eager  gaze  and  arms  outstretched,  reach  toward  Glory,  floating 
far  above  them,  bearing  a wreath,  and  attended  by  her  winged  horse  Pegasus 
and  trumpeting  Fame. 


Northeast  Pavilion. 

The  Seals  of  the  United  States  and  the  Executive  Departments  are  the 
motives  of  the  decorations  by  W.  B.  Van  Ingen  and  E.  E.  Garnsey  Wreathed 
panels  contain  patriotic  sentiments;  female  figures  idealize  the  Departments 
whose  seals  they  support  emblazoned  on  shields. 

Treasury  and  State. — For  one  is  shown  the  familiar  Treasury  building; 
for  the  other  the  Capitol  Dome  and  the  Washington  Monument. 

’Tis  our  true  policy  to  steer  clear  of  permanent  alliance  with  any  portion  of  the  foreign 
world. — Washington.  Let  our  object  be  our  country,  our  whole  country,  and  nothing 
but  our  country. — Thank  God!  I also  am  an  American — Webster. 

War  and  Navy. — The  genii  supporting  the  seals  are  equipped  with  Army 
and  Navy  swords ; for  the  Army  are  the  Roman  standard  (modified  to  show 
the  initials  U.  S.  A.)  and  the  Bunker  Hill  Monument;  for  the  Navy  the 
masts  of  the  battleship  Indiana  and  Decatur’s  rostral  column  at  Annapolis. 

The  aggregate  happiness  of  society  is,  our  ought  to  be,  the  end  of  all  government. — To 
be  prepared  for  war  is  one  of  the  most  effectual  means  of  preserving  peace. — Washing- 
ton. 

Agriculture  and  Interior. — For  Agriculture  the  background  is  of  a farming 
country,  in  that  of  the  Interior  is  represented  the  Indian’s  tree  sepulture. 

The  agricultural  interest  of  the  country  is  connected  with  every  other,  and  superior 
in  importance  to  them  all. — Jackson.  Let  us  have  peace. — Grant. 

Justice  and  the  Post  Office. — The  symbols  are  the  Scales  of  Justice,  and  a 
bronze  statue  of  Mercury  the  messenger  of  the  gods. 

Equal  and  exact  justice  to  all  men,  of  whatever  state  or  persuasion,  religious  or  polit- 
ical ; peace,  commerce,  and  honest  friendship  with  all  nations — entangling  alliances  with 
none.— J efferson. 

The  Great  Seal  of  the  United  States  in  the  ceiling  is  surrounded  by  a decora- 
tion comprising  the  forty-eight  stars  of  the  flag;  the  cardinal  winds,  North, 
East,  South  and  West,  represented  by  blowing  faces,  and  symbolical  of  the 
geographical  divisions  of  the  Union;  fruits  and  grains  as  typical  products  of 
each  section  of  the  country;  and  the  cornucopia  of  Agriculture,  dolphin  of 
Commerce,  lyre  of  Art,  and  torch  of  Education.  Encircling  the  whole  is  the 
conclusion  of  Lincoln’s  Gettysburg  Address  (see  the  Arlington  chapter)  : 

That  this  nation,  under  God,  shall  have  a new  birth  of  freedom;  and  that  government  of 
the  people,  by  the  people,  for  the  people,  shall  not  perish  from  the  earth. 


The  Reading  Room . 


85 


The  Reading  Room. 

The  Reading  Room. — Ascending  the  stairway  from  the  East  Corridor  we  en- 
ter the  Visitors’  Gallery,  where  an  excellent  view  is  afforded  of  the  Rotunda  or 
central  Reading  Room.  The  vast  apartment  is  imposing  in  size  and  effective 
in  architectural  design  and  color  scheme  of  marble  walls  and  pillars  and  tiers 
of  arches  and  balustrades,  and  the  uplifted  dome  with  its  elaborate  stucco 
ornamentation.  The  room  is  100-ft.  in  diameter  and  125-ft.  in  height ; the 
pillars  are  40-ft.  high,  the  windows  32-ft.  wide.  The  richness  of  the  color 
effect  lies  in  the  marbles,  of  which  the  dark  are  from  Tennessee,  the  red  from 
Numidia,  and  the  shades  of  yellow  from  Siena.  The  stucco  ornaments  of  the 
dome  are  in  old  ivory,  and  comprise  a great  variety  of  designs — among  them 
Martiny’s  female  figures  supporting  cartouches;  Weinert’s  winged  half-figures; 
winged  boys  with  wreaths  and  garlands,  torches,  lamps,  swans,  eagles,  dol- 
phins and  arabesques. 

The  Symbolical  Statues. — Upon  the  eight  piers  are  female  figures  of  colossal 
stature.  Above  each  is  a quotation  chosen  by  President  Eliot,  of  Harvard : 

Religion , by  Baur,  holding  a flower. 

What  doth  the  Lord  require  of  thee,  but  to  do  justly,  to  love  mercy,  and  to  walk 
humbly  with  thy  God? — Micah  vi:  8. 

Commerce,  by  Flanagan,  holding  miniature  locomotive  and  ship : 

We  taste  the  spices  of  Arabia,  yet  never  feel  the  scorching  sun  which  brings  them  forth. 
— Considerations  on  East  India  Trade. 

History,  by  French,  with  book  and  reflecting  mirror: 

One  God,  one  law,  one  element, 

And  one  far-off  divine  event, 

To  which  the  whole  creation  moves. — Tennyson. 

Art,  by  St.  Gaudens  and  Dozzi,  laurel-crowned,  with  a model  of  the  Par- 
thenon for  architecture,  a brush  and  palette  for  painting,  and  a mallet  for 
sculpture : 

As  one  lamp  lights  another,  nor  grows  less, 

So  nobleness  enkindleth  nobleness. — Lowell. 

Philosophy,  by  Pratt,  with  book: 

The  inquiry,  knowledge,  and  belief  of  truth  is  the  sovereign  good  of  human  nature. 
— Bacon. 

Poetry,  by  Ward,  with  scroll : 

Hither,  as  to  their  fountain,  other  stars 
Repairing,  in  their  golden  urns  draw  light. — Milton. 

Law,  by  Bartlett,  with  the  stone  table  of  the  laws  and  a scroll : 

Of  law  there  can  be  no  less  acknowledged  than  that  her  voice  is  the  harmony  of  the 
world. — Hooker. 

Science,  by  Donoghue,  with  a globe  and  triangle  and  mirror : 

The  heavens  declare  the  glory  of  God;  and  the  firmament  slioweth  his  handiwork, 
Psalms  xix:  1. 

Bronze  Statues. — Looking  down  from  the  railing  of  the  gallery  under  the 
dome,  stand  sixteen  bronze  statues  of  characters  distinguished  in  the  several 
fields  of  learning  and  achievement  represented  by  the  symbolical  statues : 

Religion — Moses  (by  Niehaus)  and  St.  Paul  (by  Donoghue).  Moses  is 
represented  as  the  great  law-giver,  with  the  Tables  of  the  Law  delivered  on 
Sinai.  St.  Paul  has  sword  and  scroll. 


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Commerce — Columous  (by  Bartlett)  and  Fulton  (by  Potter).  Fulton  holds 
a model  of  his  first  steamboat,  the  “Clermont.” 

History — Herodotus , the  “Father  of  History”  (by  French),  and  Gibbon, 
historian  of  the  “Decline  and  Fall  of  the  Roman  Empire”  (by  Niehaus). 

Art — Michael  Angelo  (by  Bartlett)  and  Bee-thoven  (by  Bauer). 

Philosophy — Plato  and  Bacon  (both  by  Boyle). 

Poetry— Homer  (by  St.  Gaudens)  and  Shakespeare  (by  Macmonnies). 

Law — Solon  (by  Ruckstuhl)  and  Kent  (by  Bissell).  Solon,  the  Athenian 
law-giver,  holds  out  the  scroll  of  “The  Laws”  ( Oi  Nomoi),  and  supports  a 
reversed  sword  twined  with  olive.  James  Kent  is  represented  as  holding  the 
manuscript  of  his  celebrated  “Commentaries  on  American  Law.” 

Science — Newton  (by  Dallin)  and  Henry  (by  Adams).  Prof.  Joseph 
Henry  holds  an  electro-magnet,  suggesting  his  work  in  electro-magnetism. 
The  Progress  of  Civilization,  by  E.  H.  Blashfield,  in  the  Collar  of  the 
Dome,  which  is  150  feet  in  circumference,  is  a symbolism  of  the  twelve  na- 
tions and  epochs  which  have  contributed  to  the  world’s  advance.  Each  is 
represented  as  a seated  figure,  winged,  and  bearing  emblems  suggestive  of  its 
peculiar  attribute : 

Egypt  ( Written  Records)  holds  a tablet  of  hieroglyphics,  and  the  Egyptian 
taucross  emblem  of  immortality.  On  the  throne  is  the  cartouche  of  Mena, 
the  first  king  of  Egypt.  At  the  feet  of  the  figure  is  a case  of  papyrus  scrolls. 

Judea  ( Religion ) wears  the  vestments  of  the  Jewish  High  Priest.  The 
emblems  are  scroll  and  censer.  The  stone  tablet  bears  the  Hebrew  text,  Levi- 
ticus xix : 18 : “Thou  shalt  love  thy  neighbor  as  thyself.” 

Greece  ( Philosophy ) is  a classic  figure  wearing  a diadem;  the  symbols  are 
scroll  and  bronze  lamp. 

Rome  ( Administration ) is  pictured  as  a Roman  centurion  in  armor;  the  em- 
blems are  the  sword,  the  fasces  and  baton  of  auth'  rity,  and  the  marble  column. 

Islam  ( Physics ) costumed  as  an  Arabian,  has  as  emblems  glass  retort  and 
book  of  mathematics. 

* Middle  Ages  ( Modern  Languages)  is  accompanied  by  the  emblematic  ac- 
cessories of  casque  and  sword  typifying  the  Age  of  Chivalry,  Gothic  cathedral 
for  architectural  development,  and  papal  tiara  and  keys  of  St.  Peter  for  the 
part  of  the  Church.  The  face  is  a characterization  from  Mary  Anderson’s. 

Italy  {Fine  Arts)  has  brush  and  palette  for  painting,  satuette  of  Michael 
Angelo’s  David  for  sculpture,  violin  for  music,  capital  for  architecture. 

Germany  ( Art  of  Printing)  is  represented  as  an  early  printer,  in  fifteenth 
century  garb,  reading  a proofsheet  from  the  primitive  hand  press.  The  face 
is  a characterization  from  that  of  Gen.  Thomas  Lincoln  Casey. 

Spain  ( Discovery ) appears  as  a navigator,  in  sailor’s  leather  jerkin,  hand 
on  tiller  and  sword  in  lap;  by  his  side  a globe,  at  his  feet  model  of  a caravel. 

England  {Literature) , laurel-crowned  and  in  Elizabethan  costume,  holds 
Shakespeare’s  plays,  showing  facsimile  of  the  title  page  of  “A  Midsummer 
Night’s  Dream,”  1600.  The  face  is  a characterization  of  Ellen  Terry’s. 

France  {Emancipation)  is  the  animated  figure  of  a woman  wearing  liberty 
cap  and  tri-color  jacket,  and  equipped  with  sword,  drum  and  trumpet.  She 


The  Library  of  Congress.  87 

is  seated  upon  a cannon,  and  holds  out  the  “Declaration  des  Droits  de 
FHomme”  of  1798.  The  features  are  of  the  artist’s  wife. 

America  (Science). — The  scientific  genius  of  our  own  country  is  typified 
by  an  electrical  engineer,  with  book  and  dynamo.  The  face  is  a characteriza- 
tion from  that  of  Abraham  Lincoln. 

The  Human  Understanding. — In  the  Crown  of  the  Lantern,  Mr.  Blashfield 
has  painted  The  Human  Understanding,  in  the  allegorical  figure  of  a woman 
floating  among  clouds,  and  attended  by  two  children  genii.  With  uplifted 
gaze  she  is  looking  from  finite  human  achievement,  as  indicated  in  tne  fresco 
of  Civilization  below,  to  the  infinite,  which  is  beyond.  One  of  the  genii  holds 
a closed  book,  the  other  beckons  those  below. 

The  Windows. — The  stained-glass  decoration  of  the  great  arched  windows, 
by  H.  T.  Schladermundt,  is  a composition  of  the  arms  of  the  Union  and  of 
the  States,  alternating  with  torches  and  wreathed  fasces.  With  each  State 
is  given  the  date  of  its  ratification  of  the  Constitution,  admission  into  the 
Union,  or  Territorial  organization;  the  series  begins  with  Delaware. 

The  Clock  over  the  entrance,  by  John  Flanagan,  is  of  marble  and  bronze;  the 
details  are  Signs  of  the  Zodiac,  flight  of  Time,  Seasons,  Day  and  Night. 

The  Library  was  founded  in  1800,  Congress  appropriating  for  it  $5,000.  It 
has  twice  suffered  by  fire — in  1814,  when  the  Capitol  was  burned,  and  in  1851. 
Special  collections  acquired  have  been  Thomas  Jefferson’s  Librarv.  the  Force 
Historical  Collection  in  1865,  Smithsonian  Library  in  1867,  Toner  Collection 
of  Washingtoniana  in  1882.  A prolific  source  of  accessions  has  been  the 
copyright  system,  which  requires  the  deposit  here  of  two  copies  of  e\ery  copy- 
righted work.  The  library  contains  more  than  1,300,000  books. 

Any  one  may  use  the  Library,  but  books  may  be  drawn  out  only  by  mem- 
bers of  Congress,  the  President,  Supreme  Court,  and  Government  officials. 
The  Book  Stacks  devised  by  Mr.  Bernard  R.  Green  consist  of  a series  of 
cast-iron  frameworks  supporting  tiers  of  shelves,  and  rising  in  nine  stories  to 
the  roof.  Each  of  the  two  large  stacks  has  a capacity  of  800,000  volumes ; 
the  smaller  stack  100,000  books.  The  book  shelving  now  in  the  building 
amounts  to  231,680  running  feet,  or  about  forty-four  miles,  which  will  accom- 
modate 2,085,120  volumes  of  books,  reckoning  nine  to  the  foot.  The  capacity 
of  the  additional  shelving,  which  may  be  placed,  is  about  2,500,000  volumes, 
and  the  ultimate  capacity  of  the  building  for  books  is  therefore  upward  of 
4,500,000  volumes,  or  somewhat  less  than  one  hundred  miles  of  shelving.  An 
ingenious  mechanism  delivers  books  from  the  stacks  to  the  Reading  Room. 
From  the  Reading  Room  an  endless  cable  runs  down  to  the  basement  and 
up  through  the  stack  to  the  top,  and  back  again.  To  it  are  attached  book 
carriers.  When  a book  is  called  for  at  the  desk,  the  slip  is  sent  by  pneumatic 
tube  to  the  clerk  in  the  book  stack;  he  puts  the  book  into  a receptacle,  from 
which  it  is  taken  automatically  by  the  book  carrier  and  carried  to  the  Reading 
Room,  the  whole  process  consuming  but  a few  minutes.  In  like  manner  the 
books  are  returned.  For  the  convenience  of  Congress,  books  are  sent  directly 
from  the  Reading  Room  to  the  Capitol  through  a tunnel. 


%\)t  JUbtarp  Quotations 


The  Poets,  who  on  earth  have  made  us  heirs 

Of  truth  and  pure  delight  by  heavenly  lays. — Wordsworth. 

Art  is  long  and  Time  is  fleeting. — Longfellow. 

The  history  of  the  world  is  the  biography  of  great  men. — Carlyle. 

Order  is  Heaven’s  first  law. — Pope. 

Memory  is  the  treasurer  and  guardian  of  all  things. — Cicero. 

Beauty  is  the  creator  of  the  universe. — Emerson. 

This  is  the  state  of  man  : To-day  he  puts  forth 

The  tender  leaves  of  hopes  5 to-morrow  blossoms, 

And  bears  his  blushing  honors  thick  upon  him. 

The  third  day  comes  a frost  and  nips  his  root,  and  then  he  falls. 

— King  Henry  VIII.  (Adapted}. 

Beholding  the  bright  countenance  of  Truth  in  the  quiet  and  still  air  of  delightful 
studies. — Milton. 

The  true  University  of  these  days  is  a Collection  of  Books. — Carlyle. 
Nature  is  the  art  of  God. — Sir  Thomas  Browne. 

There  is  no  work  of  genius  which  has  not  been  the  delight  of  mankind. — Lowell. 
It  is  the  mind  that  makes  the  man,  and  our  vigor  is  in  our  immortal  soul. — Ovid. 
They  are  never  alone  that  are  accompanied  with  noble  thoughts. — Sir  Philip  Sidney. 
Man  is  one  world,  and  hath  another  to  attend  him.— Herbert. 

Tongues  in  trees,  books  in  the  running  brooks, 

Sermons  in  stones,  and  good  in  everything. — As  You  Like  It. 

Books  will  speak  plain  when  counsellors  blanch. — Bacon. 

Glory  is  acquired  by  virtue  but  preserved  by  letters. — Petrarch. 

The  foundation  of  every  state  is  the  education  of  its  youth. — Dionysius. 

The  light  shineth  in  darkness,  and  the  darkness  comprehendeth  it  not. 

— St.  John  i:  5. 


In  the  Librarian* s Room . 

Litera  scripta  manet — The  written  letter  remains  (Literature  endures).  In  tenebris 
lux — Light  in  darkness.  Liber  delectatio  anima — A book  is  the  delight  of 
the  mind.  Efficiunt  clarum  studio — They  make  clear  by  study.  Dulce  ante 
omnia  Musa — The  sweetness  of  the  Muse  before  all  else. 

The  Greek  Heroes. 

One  equal  temper  of  heroic  hearts, 

Made  weak  by  time  and  fate,  but  strong  in  will 

To  strive,  to  seek,  to  find,  and  not  to  yield. — Tennyson,  Ulysses. 

A glorious  company,  the  flower  of  men 
To  serve  as  model  for  the  mighty  world, 

And  be  the  fair  beginning  of  a time. — Tennyson,  Guinevere. 

To  the  souls  of  fire,  I,  Pallas  Athena,  give  more  fire  j and  to  those  who  arc 
manful,  a might  more  than  man’s. — Kingsley. 

Ancient  of  days  ! august  Athena  ! 

Where  are  thy  men  of  might?  thy  grand  in  soul? 

Gone  glimmering  through  the  dream  of  things  that  were. 

— Byron,  Childe  Harold. 


Ci)t  iLtbrar?  (Quotations 

The  chief  glory  of  every  people  arises  from  its  authors. — Dr.  Johnson. 
Knowledge  comes,  but  wisdom  lingers. — Tennyson. 

W isdom  is  the  principal  thing  5 therefore  get  wisdom  ; and  with  all  thy  getting  get 
understanding. — Proverbs  iv  : 7. 

Ignorance  is  the  curse  of  God, 

Knowledge  the  wing  wherewith  we  fly  to  Heaven. — 2 Henry  VI. 

How  charming  is  divine  Philosophy.- — Milton. 

Books  must  follow  sciences  and  not  sciences  books. — Bacon. 

In  books  lies  the  soul  of  the  whole  past  time. — Carlyle. 

Words  are  also  actions  and  actions  are  a kind  of  words. — Emerson. 


Dwells  within  the  soul  of  every  Artist 
More  than  all  his  effort  can  express. 

No  great  Thinker  ever  lived  and  taught  you 
All  the  wonder  that  his  soul  received. 

No  true  Painter  ever  set  on  canvas 
All  the  glorious  vision  he  conceived. 

No  Musician, 

But  be  sure  he  heard,  and  strove  to  render, 
Feeble  echoes  of  celestial  strains. 


No  real  Poet  ever  wove  in  numbers 
All  his  dream. 

Love  and  Art  united 
Are  twin  mysteries,  different,  yet  the  same. 
Love  may  strive,  but  vain  is  the  endeavor 
All  its  boundless  riches  to  unfold. 

Art  and  Love  speak  ; but  their  words  must  be 
Like  sighings  of  illimitable  forests. 

— Adelaide  Proctor,  Unexpressed . 


There  is  but  one  temple  in  the  universe,  and  that  is  the  body  of  man. — Novalis. 
The  first  creature  of  God  was  the  light  of  sense  ; the  last  was  the  light  of  reason. 

— Bacon. 

The  true  Shekinah  is  man.- — Chrysostom. 

Only  the  actions  of  the  just 

Smell  sweet  and  blossom  in  the  dust. — James  Shirley. 

Science  is  organized  knowledge. — Herbert  Spencer. 

Beauty  is  truth,  truth  beauty. — Keats. 

Too  low  they  build  who  build  beneath  the  stars. — Young. 

Man  raises  but  time  weighs. — Greek  Proverb. 

Beneath  the  rule  of  men  entirely  great 

The  pen  is  mightier  than  the  sword.— Bulwer  Lytton. 

The  noblest  motive  is  the  public  good. — Virgil. 

A little  learning  is  a dangerous  thing  5 

Drink  deep,  or  taste  not  the  Pierian  spring. — Pope. 

Learning  is  but  an  adjunct  to  ourself. — Love’s  Labour’s  Lost. 

Studies  perfect  nature,  and  are  perfected  by  experience. — Bacon. 

Dreams,  books,  are  each  a world ; and  books,  we  know, 

Are  a substantial  world,  both  pure  and  good.— Wordsworth. 

With  the  Muses . 


Descend,  ye  Nine,  descend  and  sing  5 
Wake  into  voice  each  silent  string. 

Oh,  Heaven-born  sisters,  source  of  art, 

Who  charm  the  sense  or  mend  the  heart. 

Say,  will  you  bless  the  bleak  Atlantic  shore, 

And  in  the  West  bid  Athens  rise  once  more  l 

— Pop*  (Adapie£\ 


perry's  "COURT  of  NEPTUNE.’ 


ENTRANCE  PAVILION. 


ENTRANCE  PAVILION. 


MARTINY  STAIRCASE. 


THE  COMMEMORATIVE  ARCH 


NORTH  CORRIDOR  OF  ENTRANCE  PAVILION. 


benson's  "seasons/' 


Mi 


THE  CENTRAL  STAIR  HAj 


This  apartment,  which  has  been  styled  ua  vision  in  polished  stone,”  is  a fitting  er 
harmony  of  adornment,  in  the  perfect  adaptation  to  the  purpose  for  which  it  is  intenc 
legend  of  Mr.  Vedder’s  mosaic  of  Minerva  runs  : Nil  invita  Minerva  quae  Monti 
memorial,  more  enduring  than  bronze.”  Or,  more  freely  rendered  : “ Minerva  was  a 
contributed,  each  his  part,  to  produce  the  perfect  whole,  are  all  American  citizens,  and,  | 
design  and  execution  the  building  is  a product  of  American  talent,  art  and  workman., 


)F  THE  ENTRANCE  PAVILION. 


.e  hall  to  the  superb  building.  In  the  dignity  of  its  proportion  and  design,  in  richness  and 
:he  Library  of  Congress  stands  to-day  as  America’s  highest  architectural  achievement.  The 
:um  aere  perennius  exegit*  “That  was  not  an  unwilling  Minerva  who  fashioned  this 
best  when  she  builded  this  monument.”  The  architects,  painters  and  sculptors  who  have 
is  been  pointed  out,  it  may  well  be  for  us  an  occasion  of  patriotic  pride,  that  in  conception, 


( 


STAIRWAY  TO  ROTUNDA  GALLERY. 


SOUTH  CORRIDOR,  ENTRANCE  PAVILION. 


WALKER  S ‘ MUSE  OF  LYRIC  POETRY. 


warn 


iiiii 


walker's  "endymion. 


^ELPOnE/yfi 


SIMMONS’ 


MCEWEN  S HERCULES. 


WALTER  MCE  WEN  S PARIS.' 


GETTY  RESEARCH  INSTITUTE 


3 3125  01214  2861 


